Spring Awakening

Producers Donna Kimberlin and Howard Gross
Director Corey Rubel
Assistant Director/Choreographer Jillian Kimberlin
Musical Director TBA
RATED:  R (mature subject matter)
Winner of 8 TONY Awards, including BEST MUSICAL, SPRING AWAKENING celebrates the unforgettable journey from youth to adulthood with a power, poignancy, and passion that you will never forget.  Adapted from Frank Wedekind’s 1891 expressionist play about the trials, tears, and exhilaration of the teen years, it has been hailed as the “Best Musical of the Year” by the New York Times, New York Post, Star Ledger, Journal News, New York Observer, and USA Today.  This production is Rated R; a few facts about the production are listed below.

ALL TICKETS – $16 reserved seating – NO DISCOUNTS accepted for this production

Fridays and Saturdays at 8:00PM – Sundays at 2:00PM

Spring Awakening is a musical, based on a play of the same name written in 1891 by Frank Wedekind. It’s a coming-of-age story that takes place in a provincial German town in the late nineteenth century and shows the consequences of living in a repressive socity. Steven Sater, who wrote the book and lyrics, has said the impulse in writing the show was “a desire to move hearts and try and change the world a little.” Although Spring Awakening deals with very important themes, it also has a lot of humor and a great deal of fun. Teenagers will easily identify, and identify with, the characters on stage.

This production features a rock score with songs revealing private yearnings, hopes and anguish of the show’s teenage characters. As these feelings are timeless and universal, the writers chose to have the boys and girls assume the manner of contemporary teens when performing the songs. The language is frank and reflects the way many contemporary teenagers speak. The words are sometimes raw, but they’re never used for the sake of being vulgar, they are honest expressions of feelings.

We will deal with mature themes and these include moments of brutality and sexual situations. One of the main goals of the creative team is to open the lines of communication between parents and children, enabling them to discuss difficult and significant topics. Our production will not include any nudity.

Abortion and religion are crucial to the plot of Spring Awakening, but the theater and the authors do not take a stand either advocating or opposing anything. The script promotes an open dialogue between teenagers and their parents about these and other issues addressed in this show.

Parents are the best judge of whether your child is mature enough to handle the subject matter of this show. As a rule, the show is recommended for those 15 and older. However, there are 15-year-olds who might not be emotionally prepared to deal with the themes and candid nature of Spring Awakening, just as there are 13-year-olds who are emotionally prepared to handle the subject matter. Only a parent can decide.

CAST

 

 

 

 

 

 

 

 

PRODUCTION STAFF
Executive Producer Donna N. Kimberlin
Producer Howard Gross
Director Corey Rubel
Assistant Director/Choreographer Jillian Kimberlin
Musical Directors David Neil Regner
Francois Suhr
Stage Managers Carly Bauer, Alex Klein
Costume Coordinator
Set Design/Construction JC Gibriano
Lighting Design Patrick McGlone
Sound Design Anthony Francese
Properties

 
 
  

Teen Production Staff
Assistants to the Director Peter Klein
Assistant to the Musical Directors Erin Radvanski
Assistants to the Choreographer Kristen Seggio
Quentin Madia
Assistant to the Lighting Designer
Assistant to the Sound Designer

 
 

 

 
 

 

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New Years Eve 2011

 

Dec 31, 2011

10!

Celebrating 10 years of Celebrating New Year’s Eve with the Villagers!

Please join us for our 10th Annual New Year’s Eve Gala Benefit

 

This year’s
show—The History of Musical Theatre (Part1)—will create
a high-spirited timeline of songs and skits illustrating the
evolution of Broadway. Some of your (and our) favorite
Villagers will give you a history lesson you’ll actually enjoy!
Also, once again, we will honor a special “Villager” who has
hot and cold hors d’oeuvres and midnight champagne toast”_mcePaste” style=”position: absolute; width: 1px; height: 1px; overflow: hidden; top: 0px; left: -10000px;”>Franklin Township and Central NJ for over 50 years.
The 7:00pm early show is $25 per person. The late show at
9:30pm is $50 per person, including a post-show party with
hot and cold hors d’oeuvres and midnight champagne toast!

We are bringing back some of our favorite performers from the last 10! years of NYE Celebrations; performing some our favorite musical numbers from our previous  NYE Shows! In addition, we are adding our favorites from our Current Season of Musicals and a few things we are sure you have Never Heard before but are sure to remember.

 

There is always a party after the late show to ring in the New Year with food and drink and MORE MUSIC!! Also, once again, we will honor a special “Villager” who has gone ‘above and beyond’ to make the Villagers a vital part of Franklin Township and Central NJ for over 50 years.The 7:00pm early show is $25 per person. The late show at 9:30pm is $50 per person, including a post-show party with hot and cold hors d’oeuvres and midnight champagne toast!

NEW THIS YEAR CLUB VILLAGERS!  Come Dance and Continue the Party into 2012 12am-2am  DJ Music  *If you would like to come just to Dance and finish the Party with us after Midnight 21+ $5 **must enter before 1am**

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Man of LaMancha

    Man of La Mancha March 9-31, 2001   Directed by Tina Lee   This is a play-within-a-play, based on Cervantes’ “Don Quixote.” We have a poignant story of a dying old man whose impossible dream takes over his mind. It’s All the Same, Dulcinea, I’m Only Thinking of Him, The Impossible Dream, I Really Like … Read more

Deathtrap

  April 9 – 25, 2010 By Ira Levin Directed by John Correll   One of the great popular successes of recent Broadway history, this ingeniously constructed play offers a rare and skillful blending of two priceless theatrical ingredients—gasp-inducing thrills and spontaneous laughter. Dealing with the devious machinations of a writer of thrillers whose recent … Read more

Gypsy

 

Aug 10 – Sept 2, 1990

Produced by
Betsy Antonoff, Ellen Engelhart, Peggy Kohn

Directed by Barbara Mann Stuart

GYPSY is the ultimate story about an aggressive stage mother. Join Rose, June and Louise in their trip across the United States during the 1920’s, when vaudeville was dying and burlesque was born. Jule Styne’s music and Stephen Sondheim’s lyrics include Let Me Entertain You, Some People, You’ll Never Get Away from Me, If Momma Was Married, All I Need Is the Girl, Everything’s Coming Up Roses, You Gotta Get A Gimmick and Together Wherever We Go. This is a gripping story of one of the most frightening aspects of show business.

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Loot

 

 

 

July 13 – July 29, 1990

Produced by Iris Green and Anne Welby

Directed by Douglas Eaton

A masterpiece of black farce, Loot follows the fortunes of two young thieves. Dennis works for an undertaker. Hal’s old Mum has just died. They rob the bank next door to the funeral parlour and find just the place to hide the loot. With the money hidden in Mum’s coffin, there’s no place for Mum whose body keeps re-appearing at the most inopportune times. When Inspector Truscott turns up, the already thickened plot goes topsy-turvy. Loot saw its premiere in London in 1966 and remains on of the most potent works from this master of the macabre.

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Working


 

Working

June 1 – June 24, 1990

Produced by Mary Henning

Directed by Mark E. Hopkins

The hopes, dreams, joys and concerns of the average working American are the focus of this unique, extraordinary musical. That the everyday lives of “common” men and women should be so compelling and moving will surprise and inspire anyone who has ever punched a time clock.

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Born Yesterday

 

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April 20 – May 13, 1990

Produced by Mark E. Hopkins

Directed by Nick Procacciono

The vulgar, egotistic junkman Harry Brock has come to a swanky hotel in Washington to make crooked deals with government big-wigs. He has brought with him the charming but dumb ex-chorus girl Billie, whose lack of social graces embarrasses even Harry. Billie must be taught some of the amenities, and a few basic bits of information. The young, idealistic magazine reporter Paul Verrall, who has been investigating political skullduggery and is interested in Brock’s activities, agrees for a salary, to educate Billie. He finds Billie has a natural honesty and a frank streak in her, and she begins to learn about history, politics, and what Harry really is and what he wants. At a dramatic moment she rebels against being merely a tool in Harry’s crooked schemes and refuses to sign the documents which she has come to learn are part of an ambitious effort to defraud the public. This precipitates a crisis, as Billie readies to leave Harry for a new life of her own. Harry’s reaction takes the only form he knows: physical violence. Billie now knows that she can no longer have anything to do with Brock, and realizes she and Paul have fallen genuinely in love. Just before she leaves Harry, she helps Paul get hold of incriminating documents of Harry’s which will result in scandal and disaster. At the end, Paul and his promising pupil turn their backs on the anti-social and anti-democratic Brock and strike out on their own.

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Bell, Book & Candle

 

 

 

Jan 19 – Feb 11, 1990

Produced by Heidi Giovine

Directed by Mary McGinley

Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly because she is attracted to him. He falls head over heels in love with her at once and wants to marry her. But witches, unfortunately, cannot fall in love, and this minute imperfection leads into a number of difficulties. Ultimately, the lady breaks off with her companions in witchery, preferring the normal and human love offered her by the attractive publisher. But before the happy conclusion of the romance, Gillian comes very near to losing him—but doesn’t.

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The Wedding Singer

July 29 – August 14, 2011
 
Produced by
Howard Gross and Donna Kimberlin
Directed by Corey Rubel
Musical Directed by Donna Zdan
Choreographed by Jillian Kimberlin

PRODUCTION STAFF

Executive Producer
Producer
Director
Musical Director
Choreographer
Stage Manager
Costume Coordinator
Set Design/Construction
Light Design
Sound Design
Properties
Donna N. Kimberlin
Howard Gross
Corey Rubel
Donna Zdan
Jillian Kimberlin
Jaclyn Spoleti
Pam Christian
JC Gibriano
Patrick McGlone
Matt Carlsen
Julia Fein
CAST
Robbie Hart    
Julia Sullivan                                                                     
Holly
Sammy
George
Glen Guglia
Rosie
Linda
ENSEMBLE
Brianna Brice
Nyasa Cusami
Serina Figeurias
Angie Francese
Holly Korzienowski
Natalie Romeo
Janine Silano
Rachel Valvocin
 
Adam Magnacca          
Kelsey Bock
Sandy Buz
Casey Kulik
Ben Michael
Tyler Crozier
Heather Gross
Allie Gorenc
 
Bobby Amberg
Eric Bermudez
Nihal Honwad
Evan Krug
Quentin Madia
Matthew Mailio
Alec Richards
Dylan Weidenfeld
 

 

 

 

 

 

 

 

 

 

 

 

 

TEEN PRODUCTION STAFF   
Assistants to the Director
Assistant to the Musical Director
Assistant to the Choreographer                          
Assistant to the Lighting Designer
Assistant to the Sound Designer
 
 
Peter Klein and Mark Scoff
Robyn Stein
Kristen Seggio
Scott Boxer
Robyn Stein
 
 

 

ORCHESTRA
Conductor, Keyboard 1                                                Donna Zdan


 
 


 

 

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